The Ramayana or Dictionary (Sanskrit: , Rmyaam, pronounced [rmjm]) is a

Sanskrit epic poem ascribed to the Hindu sage and Sanskrit poet Valmiki.[1] It is regarded as one
of the two great works of Indian literature, along with the Mahabharata.[2] Considered itihsa,
the Ramayana also plays an important role in Hindu literature (smti). It depicts the duties of
relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother,
the ideal wife, and the ideal king. The name Ramayana is a tatpurusha compound of Rma and
ayana ("going, advancing"), translating to "Rama's Journey". The Ramayana consists of 24,000
verses in seven books (kas) and 500 cantos (sargas),[3] and tells the story of Rama (an avatar
of the Hindu supreme-god Vishnu), whose wife Sita is abducted by Ravana, the king of Lanka
(current day Sri Lanka). Incidentally the first letter of every 1000 verses (total 24) make the
Gayatri mantra.[citation needed] Thematically, the Ramayana explores human values and the concept of
dharma.[4]
Verses in the Ramayana are written in a 32-syllable meter called anuubh. The Ramayana was
an important influence on later Sanskrit poetry and Hindu life and culture. Like the
Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages
(Vedas) in narrative allegory, interspersing philosophical and devotional elements. The
characters Rama, Sita, Lakshman, Bharata, Hanuman, and Ravana are all fundamental to the
cultural consciousness of India, Nepal, and many south-east Asian countries such as Thailand
and Indonesia.
There are other versions of the Ramayana in Indian languages, besides Buddhist and Jain
adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian
versions of the tale.

Contents

1 Textual history and structure

o 1.1 Period
o

1.2 The seven kandas (books)

2 Characters

3 Synopsis
o

3.1 Bala Kanda

3.2 Ayodhya Kanda

3.3 Aranya Kanda

3.4 Kishkindha Kanda

3.5 Sundara Kanda

3.6 Lanka kanda

3.7 Uttara Kanda

4 Influence on culture and art

5 Variant versions
o

5.1 India

5.2 Buddhist version

5.3 Sikh version

5.4 Jain version

5.5 In Nepal

5.6 Southeast Asian versions

6 Theological significance

7 Media
o

7.1 Stage

7.2 Movies

7.3 Plays

7.4 Serials (TV series)

8 See also

9 Notes

10 References

11 Further reading

12 External links

Textual history and structure

Scene Ramayana, Gupta art, National Museum, New Delhi.

Traditionally, the Ramayana is attributed to Valmiki.[5] The Hindu tradition is unanimous in its
agreement that the poem is the work of a single poet; the sage Valmiki, a contemporary of Rama
and a peripheral actor in the drama.[6] The story's original version in Sanskrit is known as Valmiki
Ramayana, dating to approximately the 5th to 4th century BCE.[7] While it is often viewed as a
primarily devotional text, the Vaishnava elements appear to be later accretions, possibly dating to
the 2nd century BCE or later. The main body of the narrative lacks statements of Rama's divinity,
and identifications of Rama with Vishnu are rare and subdued even in the later parts of the text.[8]
According to Hindu traditionand according to the Ramayana itselfthe Ramayana belongs to
the genre of itihasa, like the Mahabharata. The definition of itihasa has varied over time, with
one definition being that itihsa is a narrative of past events (purvtta) which includes teachings
on the goals of human life.[1] According to Hindu tradition, the Ramayana takes place during a
period of time known as Treta Yuga.[9]
In its extant form, Valmiki's Ramayana is an epic poem of some 50,000 lines. The text survives
in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf
manuscript found in Nepal and dated to the 11th century CE.[10] The text has several regional
renderings,[11] recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates
two major regional recensions: the northern (n) and the southern (s).[12] Scholar Romesh Chunder
Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main
story is more distinctly the creation of one mind."[13]
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana
were composed by the original author. Most Hindus still believe they are integral parts of the
book, in spite of some style differences and narrative contradictions between these two chapters
and the rest of the book.[14][15]
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram
in Tamil (c. 11th12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th
century), Krittibas Ojha's Krittivasi Ramayan (also known as Shri Rama panchali) in Bengali (c.
15th century), sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi (which is spoken in

Maharashtra), Balaram Das' Dandi Ramayana (also known as the Jagamohan Ramayana) (c.
16th century) in Oriya, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an
eastern form of Hindi),[11] and Thunchaththu Ezhuthachan's Adhyathmaramayanam in
Malayalam.

Period
Some cultural evidence (the presence of sati in the Mahabharata but not in the main body of the
Ramayana) suggests that the Ramayana predates the Mahabharata.[16] However, the general
cultural background of the Ramayana is one of the post-urbanization period of the eastern part of
north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the
Rigvedic to the late Vedic period.[17]
By tradition, the text belongs to the Treta Yuga, second of the four eons (yuga) of Hindu
chronology. Rama is said to have been born in the treta yuga to king Daaratha in the Ikshvaku
vamsa (clan).[18] Maharishi Valmikithe writer of Ramayana and a contemporary of Lord Rama
has described in three shlokas.[19] The positions of planets at the time of birth of lord Rama.[20]
The names of the characters (Rama, Sita, Daaratha, Janaka, Vashista, Vishwamitra) are all
known in late Vedic literature.[21] However, nowhere in the surviving Vedic poetry is there a story
similar to the Ramayana of Valmiki.[22] According to the modern academic view, Vishnuwho,
according to bala kanda, was incarnated as Ramafirst came into prominence with the epics
themselves and further during the "puranic" period of the later 1st millennium CE. Also, in the
epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is
depicted as a narration to Yudhishtira.[23]
There is general consensus that books two to six form the oldest portion of the epic, while the
first and last books (bala kanda and uttara kanda, respectively) are later additions.[24] The author
or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic
basin region of northern India and with the Kosala and Magadha region during the period of the
sixteen janapadas, based on the fact that the geographical and geopolitical data is in keeping
with what is known about the region. The knowledge of the location of the island of Lanka also
lacks detail.[25] Basing his assumption on these features, the archeologist Hasmukh Dhirajlal
Sankalia has proposed a date of the 4th century BC for the composition of the text.[26] However,
the historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been
a minor chief who lived in the 8th or the 7th century BC.[27]

The seven kandas (books)

The epic is traditionally divided into several major knds (books), which deal chronologically
with the major events in the life of Rama.[11] The division into 7 knds is as follows:
Kanda/Book
1

Title
Bla Ka
(Book of
childhood)

Contents
The origins and childhood of Rama, born to king Dasharatha of
Ayodhya and destined to fight demons. Sita's swayamvara and
subsequent wedding to Rama.[28]

2
3

Ayodhya Ka
(Book of Ayodhya)
Araya Ka
(Book of the
forest)
Kishkindha
Ka (Book of
the monkey
kingdom)

The preparations for Rama's coronation in the city of Ayodhya,

his exile into the forest, and the regency of Bharata.[28]
The forest life of Rama with Sita and Lakshmana, his constant
companion. The kidnapping of Sita by the demon king Ravana.
[28]

Rama meets Hanuman and helps destroy the monkey people's

king, Vali, making Vali's younger brother, Sugriva, king of
Kishkindha instead.[28]

Detailed accounts of Hanuman's adventures, including his

meeting with Sita. Traditionally read first when reading the
Ramayana, this book's name derives from the fond name given
to Hanuman by his mother.[28]
Yuddha Ka
The battle in Lanka between the monkey and the demon armies
(Book of war, also of Rama and Ravana, respectively. After Ravana is defeated,
known as Lanka Sita undergoes the test of fire, completes exile with Rama, and
they return to Ayodhya to reign over the ideal state.[28]
Kanda)
The detailed story of Ravana's life, his encounter with Lord
Shiva , Vali, Sugreeva's brother and Kartha Veera Arjuna and
many others until Shurpanakha's humiliation in the Aranya
Khanda is retold by sage Vashishta to Rama and Sita. Rumors
Uttara Ka
of impurity lead to Sita's banishment, during which she gives
birth to and raises Lava and Kusha.Later, in course of time Sita
(Last book)
diappears into the earth. The twin boys of Sita later ascend the
throne of Ayodhya, after which Rama reaches vaikua upon
requests from the gods. People of Ayodhya who followed Rama
were offered santhanika lokas.[28]
Sundara Ka
(Book of beauty)

Characters

Rama seated with Sita, fanned by Lakshmana, while Hanuman pays his respects.
Rama is one of the protagonists of the tale. Portrayed as the seventh avatar of the god
Vishnu, he is the eldest and favorite son of Dasharathathe king of Ayodhya (current day
Ayodhya, India)and his Queen, Kausalya. He is portrayed as the epitome of virtue.
Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his
right to the throne for fourteen years and go into exile.

Rama and the monkey chiefs.

Sita is another of the tale's protagonists. She is King Janak's daughter, and Rama's
beloved wife. Rama went to Mithila (located in Janakpur, Nepal), and got a chance to
marry her by lifting a heavy Dhanus (bow) in a competition organized by King Janaka of
Nepal in Dhanusa. The competition was to find the most suitable husband for Sita, and
many princes from different states competed to win her. Sita is the avatara of goddess
Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and
virtue. She follows her husband into exile and is abducted by Ravana. She is imprisoned
on the island of Lanka, until Rama rescues her by defeating the demon king Ravana.
Later, she gives birth to Lava and Kusha Rama.
Hanuman is a vanara belonging to the kingdom of Kishkindha. In some versions (other
than Valmiki's), he is portrayed as the eleventh avatar of Shiva (he is also called rudra)
and an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king, and the
goddess Anjana. He plays an important part in locating Sita and in the ensuing battle. He
is believed to live until our modern world.

Lakshmana, the younger brother of Rama, who chose to go into exile with him. He is
the son of King Dasaratha and Queen Sumitra, and twin of Shatrughna. Lakshmana is
portrayed as an avatar of the Shesha, the nga associated with the god Vishnu. He spends
his time protecting Sita and Rama during which he fought the demoness Surpanakha. He
is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama
was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's
younger sister Urmila.

Building a Rama Setu Bridge to Lanka.

Ravana, a rakshasa, is the king of Lanka. After performing severe penance for ten
thousand years he received a boon from the creator-god Brahma: he could henceforth not
be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who
disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus
circumventing the boon given by Brahma.
Jatayu,the son of Arua and nephew of Garuda. A demi-god who has the form of an
vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as
Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana
chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of
the direction in which Ravana had gone.

Dasharatha is the king of Ayodhya and the father of Rama. He has three queens,
Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and
Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata
crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes
into exile.

Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother
Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he
storms out of the palace and goes in search of Rama in the forest. When Rama refuses to
return from his exile to assume the throne, Bharata obtains Rama's sandals, and places
them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as
the regent of Rama for the next fourteen years. He was married to Mandavi.

Shatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the
youngest brother of Rama and also the twin brother of Lakshmana. He was married to
Shrutakirti.

Sugriva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement
with Rama through which Vaali Sugriva's brother and king of Kishkindha would be
killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends
the throne of Kishkindha after the slaying of Vaali, and fulfills his promise by putting the
Vanara forces at Rama's disposal[29]

Indrajit, a son of Ravana who twice defeated Lakshmana in battle, before succumbing to
him the third time. An adept of the magical arts,he coupled his supreme fighting skills
with various stratagems to inflict heavy losses on the Vanara army before his death.[29]

Kumbhakarna, a brother of Ravana, famous for his eating and sleeping. He would sleep
for months at a time and would be extremely ravenous upon waking up, consuming
anything set before him. His monstrous size and loyalty made him an important part of
Ravana's army. During the war he decimated the Vanara army before Rama cut off his
limbs and head.[29]

Surpanakha, Ravana's demoness sister who fell in love with Rama and had the magical
power to take any form she wanted.

Vibhishana, a younger brother of Ravana. He was against the kidnapping of sita, and
joined the forces of Rama when Ravana refused to return her. His intricate knowledge of
Lanka was vital in the war, and he was crowned king after the fall of Ravana.[29]

Synopsis
Bala Kanda

Pictorial depiction of the birth of the four sons of Dasharatha.

Dasharatha was the king of Ayodhya. He had three queens Kausalya, Kaikeyi and Sumitra. He
was childless for a long time and, anxious to produce an heir, he performs a fire sacrifice known
as putra-kameshti yagya.[30] As a consequence, Rama is first born to Kausalya, Bharata is born to
Kaikeyi, Lakshmana and Shatrughna are born to Sumitra.[31][32] These sons are endowed, to
various degrees, with the essence of the god Vishnu; Vishnu had opted to be born into mortality
to combat the demon Ravana, who was oppressing the gods,and who could only be destroyed by
a mortal.[33] The boys are reared as the princes of the realm, receiving instructions from the
scriptures and in warfare. When Rama is 16-years-old, the sage Vishwamitra comes to the court
of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses
Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and
Lakshmana receive instructions and supernatural weapons from Vishwamitra, and proceed to
destroy the demons.[34]
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the
deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a
"miraculous gift of god". The child was named Sita, the Sanskrit word for furrow.[35] Sita grew up
to be a girl of unparalleled beauty and charm. When Sita was of marriageable age, the king
decided to have a swayamvara which included a contest. The king was in possession of an
immensely heavy bow, presented to him by the god Shiva: whoever could wield the bow could
marry Sita. The sage Vishwamitra attends the swayamvara with Rama and Lakshmana. Only
Rama is able to wield the bow and, when he draws the string, it breaks. Marriages are arranged
between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana
to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with
great festivity at Mithila and the marriage party returns to Ayodhya. [34]

Ayodhya Kanda

Bharata asks for Rama's paduka (footwear).

After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his
desire to crown Rama, to which the Kosala assembly and his subjects express their support.[36][37]
On the eve of the great event, Kaikeyiher jealousy aroused by Manthara, a wicked maidservant
claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be
exiled into wilderness for fourteen years, while the succession passes to her son Bharata. The
heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's
demands.[38] Rama accepts his father's reluctant decree with absolute submission and calm selfcontrol which characterises him throughout the story.[39] He is joined by Sita and Lakshmana.
When he asks Sita not to follow him, she says,"the forest where you dwell is Ayodhya for me and
Ayodhya without you is a veritable hell for me."[40] After Rama's departure, King Dasharatha,
unable to bear the grief, passes away.[41] Meanwhile, Bharata who was on a visit to his maternal
uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked
scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama,
determined to carry out his father's orders to the letter, refuses to return before the period of
exile. However, Bharata carries Rama's sandals,and keeps them on the throne, while he rules as
Rama's regent.[38][41]

Aranya Kanda

Ravana fights Jatayu as he carries off the kidnapped Sita. Painting by Raja Ravi Varma.
Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they
build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa
woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and, failing in this,
attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her
demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his
demons.[42]
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with
the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's
attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama,
aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the
deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama
calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries
to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to
protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs
Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or
entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and
casts a spell on it that prevents anyone from entering the boundary but allows people to exit.
With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's
hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is
then forcibly carried away by the evil Ravana.[42][43]
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the
heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama,
refuses.[41] Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set
out to save her.[44] During their search, they meet the demon Kabandha and the ascetic Shabari,
who direct them towards Sugriva and Hanuman.[45][46]

Kishkindha Kanda

A stone bas relief at Banteay Srei in Cambodia depicts the combat between Vali and Sugriva
(middle). To the right, Rama fires his bow. To the left, Vali lies dying.

Ravana is meeting Sita at Ashokavana. Hanuman is seen on the tree.

The kishkindha kanda is set in the monkey citadel Kishkindha. Rama and Lakshmana meet
Hanuman, the greatest of monkey heroes and an adherent of Sugriva, the banished pretender to
the throne of kishkindha.[47] Rama befriends Sugriva and helps him by killing his elder brother
Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita.[48]
However Sugriva soon forgets his promise and spends his time in debauchery. The clever
monkey queen Tara, second wife of Sugriva (initially wife of Vali), calmly intervenes to prevent
an enraged Lakshmana from destroying the monkey citadel. She then eloquently convinces
Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth,
only to return without success from north, east and west.[49] The southern search party under the
leadership of Angad and Hanuman learns from a vulture named Sampati, Who is the elder
brother of Jatayu, that Sita was taken to Lanka.[49][50]

Sundara Kanda
Main article: Sundara Kanda
The sundara kanda forms the heart of Valmiki's Ramayana[51] and consists of a detailed, vivid
account of Hanuman's adventures.[47] After learning about Sita, Hanuman assumes a gargantuan
form and makes a colossal leap across the ocean to Lanka. Here, Hanuman explores the demon's
city and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by
Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign
of good faith. He offers to carry Sita back to Rama, however she refuses, reluctant to allow
herself to be touched by a male other than her husband. She says that Rama himself must come
and avenge the insult of her abduction.[47]
Hanuman then wreaks havoc in Lanka by destroying trees and buildings, and killing Ravana's
warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture
to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds
and, leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from
the island. The joyous search party returns to Kishkindha with the news.[47][52]

Lanka kanda

The Battle at Lanka, Ramayana, by Sahibdin. It depicts the monkey army of the protagonist
Rama (top left, blue figure) fighting Ravanathe demon-king of the Lankato save Rama's
kidnapped wife, Sita. The painting depicts multiple events in the battle against the three-headed
demon general Trisiras, in bottom left. Trisiras is beheaded by Hanuman, the monkey-companion
of Rama.
Also known as Yudhdha kand, this book describes the battle between the army of Rama,
constructed with the help of Sugriva, and Ravana. Having received Hanuman's report on Sita,
Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they
are joined by Ravana's renegade brother Vibhishana. The monkeys named Nala and Nila
construct a floating bridge (known as Rama Setu) across the ocean, and the princes and their
army cross over to Lanka. A lengthy battle ensues and Rama kills Ravana. Rama then installs
Vibhishana on the throne of Lanka.[53]
On meeting Sita, Rama asks her to undergo an "agni pariksha" (test of fire) to prove her purity, as
he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the
sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity.[54]
The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas.[55] The
above version is from Valmiki Ramayana. In Tulsidas's Ramacharitamanas Sita was under the
protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with
Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana,
where the coronation is performed.[53] This is the beginning of Ram Rajya, which implies an ideal
state with good morals.

Uttara Kanda
Sita in the hermitage of Valmiki.
The uttara kanda is regarded to be a later addition to the original story by Valmiki[11] and
concerns the final years of Rama, Sita, and Rama's brothers. After being crowned king, many
years passed pleasantly with Sita. However, despite the agni pariksha (fire ordeal) of Sita,
rumours about her purity are spreading among the populace of Ayodhya.[56] Rama yields to public
opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his
ashrama (hermitage). Here she gives birth to twin boys, Lava and Kusha, who become pupils of
Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a
ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends.
Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava

and Kusha recite about Sita's exile, Rama becomes grief-stricken, and Valmiki produces Sita.
Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it.
[56][57]
Rama then learns that Lava and Kusha are his children. Later a messenger from the gods
appears and informs Rama that the mission of his incarnation was over. Rama returns to his
celestial abode.[54]

Influence on culture and art

A Ramlila actor wears the traditional attire of Ravana.

One of the most important literary works of ancient India, the Ramayana has had a profound
impact on art and culture in the Indian subcontinent and southeast Asia. The story ushered in the
tradition of the next thousand years of massive-scale works in the rich diction of regal courts and
Hindu temples. It has also inspired much secondary literature in various languages, notably the
Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla
Ramayanam by poetess Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th
century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas
Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas,
written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in
literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of
Ramayana, known as Ramlila, take place all across India and in many places across the globe
within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist
Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring
72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The
Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in
the permanent collection of the Malaysian National Visual Arts Gallery.

Variant versions
See also: Versions of Ramayana

The epic story of Ramayana was adopted by several cultures across Asia. Shown here is a Thai
historic artwork depicting the battle which took place between Rama and Ravana.
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana
related in north India differs in important respects from that preserved in south India and the rest
of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in
Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam, and Maldives.[citation needed]
Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.[58]

India
The 7th century CE "bhatti's poem" Bhaikvya of Bhai is a Sanskrit retelling of the epic that
simultaneously illustrates the grammatical examples for Pini's Adhyy as well as the
major figures of speech and the Prakrit language.[59]
There are diverse regional versions of the Ramayana written by various authors in India. Some
of them differ significantly from each other. During the 12th century, Kamban wrote
Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha
Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a
regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by
Madhava Kandali.[60] Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in
1576, an epic Awadhi (a dialect of Hindi) version with a slant more grounded in a different realm
of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known
as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th
century. Other versions include Krittivasi Ramayan, a Bengali version by Krittivas in the 14th
century; in Oriya by Balarama das in the 16th century; a Torave Ramayana in Kannada by the
16th-century poet Narahari; Adhyathma Ramayanam Kilippattu, a Malayalam version by
Tunccattu Ezhuttaccan in the 16th century; in Marathi by Sridhara in the 18th century; in
Maithili by Chanda Jha in the 19th century; and in the 20th century, rashtrakavi Kuvempu's Sri
Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi
Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in
the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi
Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the
goddess Kali.

Mappillapattua genre of song popular among the Muslims belonging to Kerala and
Lakshadweephas incorporated some episodes from the Ramayana into its songs. These songs,
known as mappila ramayana, have been handed down from one generation to the next orally.[58]
In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and
there are no major changes in the names of characters except for that of Rama which is `laman' in
many places. The language and the imagery projected in the mappilapattu are in accordance with
the social fabric of the earlier Muslim community.[58]

Buddhist version
In the Buddhist variant of Ramayana, Dasaratha was the king of Benares and not Ayodhya.
According to Romila Thapar: "Rama and Lakshmana were the siblings born to the first wife of
Dasaratha. To protect his children from his second wife, the king sent the three in exile to the
Himalayas. Twelve years later, the trio came back to the kingdom with Rama and Sita ruling as
consorts. The abduction of Sita did not find a place in this version."[61]

Sikh version
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana
which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect),
Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in
existence of dasavtara who were kings of their times which tried their best to bring revolution in
the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru
Granth Sahib states:


By hukam (supreme command), he created his ten incarnations,[62]
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In
dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God.
He is equating Ramchandra with a common man by calling him insect, though he calls himself
insect, too.
He also said that the almighty, invisible, all prevailing God created millions of Ramas, Shivas,
Vishnus, Prophets and Brahmas. But they too were caught in the noose of death (KAAL)
(Transmigration of soul).

Jain version
Further information: Salakapurusa
Jain version of Ramayana can be found in the various Jain agamas like Padmapurana (story of
Padmaja & Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra
(hagiography of 63 illustrious person's), Sanghadasa's Vasudevahindi and Uttarapurana by
Gunabhadara.[63] According to Jain cosmology,every half time cycle has nine set's of Balarama,

Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva,
and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the
names Baladeva and Vasudeva are not restricted to Balarama and Krishna in jain puranas. Instead
they serve as names of two distinct class of mighty brothers, who appear nine times in each half
time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this
list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (34th century
BCE).[64]
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told
in the Hindu version.[65] In the end, Rama who led an upright life renounces his kingdom,
becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell.
[66]
However, it is predicted that ultimately they both will be reborn as upright persons and attain
liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara
(omniscient teacher) of Jainism.[67]
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of
Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four
sons. Aparajita's son was Padma, and he became known by the name of Rama. Sumitra's son was
Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and
Suprabha's son was Shatrughna.[68] Furthermore,not much was thought of Rama's fidelity to Sita.
According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and
Sridama.Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is
reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a
jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts
that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births.
Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be
his Ganadhara.[69]

In Nepal
Besides being the site of discovery of the oldest surviving manuscript of Ramayana,[70] Nepal
gave rise to two regional variants in mid 19th early 20th century. One, written by Bhanubhakta
Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas
Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.[71]
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The
popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly
enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana,
Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.[72]

Southeast Asian versions

Hanuman discovers Sita in her captivity in Lanka, as depicted in Balinese dance.

Lakshmana, Rama and Sita during their exile in Dandaka Forest depicted in Javanese dance.
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama.
The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri
Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives
boons from Allah instead of Brahma.[73] In many Malay language versions, Lakshmana is given
greater importance than Rama, whose character is considered somewhat weak.[citation needed]

The Thai retelling of the talethe Ramakienis popularly expressed in traditional regional
dance theatre.

Rama (Yama) and Sita (me thida) in Yama Zatdaw, the Burmese version of the Ramayana.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature
since the Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of
good and evil in the world. The Reamker has several differences from the original Ramayana,
including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a
retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to
the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical
dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural
and bas reliefs seen at the Silver Pagoda and Angkor wat.
Thailand's popular national epic Ramakien (thai:. ,from Sanskrit rmakrti,"glory of
Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and
Mandodari (thotsakan and montho). Vibhisana (phiphek), the astrologer brother of Ravana,
predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later
rescued by Janaka (chanok). While the main story is identical to that of the Ramayana, many
other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and
elements of nature, which are described as being Thai in style. It has an expanded role for
Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate
illustration at Wat Phra Kaew in Bangkok.
Other southeast Asian adaptations include Ramakavaca of Bali (Indonesia), Maharadia Lawana
and Darangen of Mindanao (Philippines), and the Yama Zatdaw of Myanmar.

Theological significance

Deities Sita (far right), Rama (center), Lakshmana (far left), and Hanuman (below seated) at
Bhaktivedanta Manor, Watford, England
Rama, the hero of the Ramayana, is one of most popular deities worshipped in the Hindu
religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at
each of the holy sites along the way. The poem is not seen as just a literary monument, but serves
as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of
it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or
listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main
purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures
on earth.